If Kitsuné Maison 6 was the melodic one and 5 was Gold then this one may sadly go down as the phoned in one. It's true ladies and gents, the Maison series has jumped the shark.

It's hard to put your finger on but there is just a general lack of any sense of care and attention here. Maybe BlackPlastic has come to expect too much but, for the first time on a Kitsuné album, there is padding on the tracklisting.

Chateau Marmont's vocodered 'Beagle' is possibly the world's dullest 80s / French house hybrid - whoever picked this out of all the tracks in the world needs a slap. Similarly Renaissance Man's 'Rythym' seems content to deliver exactly 0.3 ideas across the length of the entire track. Worst of all is La Roux's return on Lifelike's mix of 'In For The Kill'. Fine, it's a catchy tune - we already admitted we liked it - and we know Kitsuné were there first, releasing 'Quicksand' last year. And Lifelike is ACE. But seriously - we all know La Roux isn't cool and will be over before her forth single.

However - when Kitsuné Maison Compilation 7 works, it really works. And it is on the laid back, sun drenched tracks this happens most. Two Door Cinema Club sound like Phoenix at the top of their game on 'Something Good Can Work' whilst Phoenix sound like, well, themselves at the top of their game on the blissful Classixx version of 'Lisztomania'. Even the Golden Filter almost manage to explain their hype on the slow and funky 'Favourite Things' whilst Autokratz finally deliver on the Yuksek mix of 'Always More'. The highlight though - Prins Thomas' mix of James Yuill's 'This Sweet Love' is not just good - it's a glorious summer's walk of a track, surpassing anything that's ever appeared on a Maison compilation in BlackPlastic's opinion.

Inconsistent then - some of the best tracks from the series combined with some of the worst. It's a shame - a little more QC and Kitsuné Maison 7 could have been the best yet.